The modernist designer, artist, and archivist, best known for her design work in the 1950s and '60s, has passed away.

Pioneering graphic designer, artist, and activist Elaine Lustig Cohen died yesterday, according to the graphic designer Prem Krishnamurthy, her friend and collaborator.

Married for seven years to the influential graphic designer Alvin Lustig, Elaine Lustig Cohen was a fierce graphic design talent in her own right. After Alvin's death in 1955, Lustig Cohen began her own practice at the age of 28; she has since developed her own voice, produced a significant body of work and will leave a lasting influence in the graphic design world.

In the late 1940s she enrolled in the Newcomb College at Tulane University where she studied art and trained on basic Bauhaus fundamentals. Discouraged from pursuing a career in art as a woman, she went on to University of Southern California to study art education.

In 1948 she married Alvin Lustig and taught junior high school for a year before quitting teaching to work in Alvin's studio. There she learned to set type and prepare mechanicals, and when Alvin began losing his eyesight to chronic diabetes at age 40, she took over the design work, executing the concepts that he dictated. After Alvin's death in 1955, Lustig Cohen continued to run the studio, completing the architectural signage for Philip Johnson's Seagram Building, designing brochures for the Girl Scouts of America, and going on to produce many iconic book jackets for Meridian Books and New Directions from 1955 to 1961.

Designing book jackets helped her develop a more freeform style that distinguished her from Alvin's more precise aesthetic. In a 1995 article for Eye magazine, graphic designer, writer, and curator Ellen Lupton wrote of Lustig Cohen's book covers:

Working at a time when most book covers employed literal pictorial illustrations, Cohen visualized titles in contemporary literature and philosophy through a rich variety of approaches, from stark abstractions and concept-driven solutions to obtuse evocations that bring to mind the recent work of Chip Kidd and Barbara de Wild for Knopf.
In the 1960s, Lustig came into her own working on a prolonged freelance job for the Jewish museum, where she developed their visual identity and produced some of her most well-known designs for the catalogs for artists like Jasper Johns, Yves Klein, and Robert Rauschenberg. In addition to Philip Johnson, she also worked for Eero Saarinen, Richard Meier, and many other leading midcentury architects, designing signage for their buildings and printed promotional material that reflected their architectural styles. She also designed proposals for TWA signage, created work for the Federal Aviation Administration, and designed the signage for General Motors' technical campus along with Saarinen.

At the time, Lustig Cohen was one of the only female graphic designers running her own studio. "There were certainly many male designers that didn't take me seriously. I wasn't part of their conversation, even though I was included in many AIGA publications. It didn't matter to me. I never thought about design as a business-the visual was my life," she told Michael Barron, a former editor at New Directions, in a 2013 interview for Bomb magazine.

In the 1970s, she began an artistic practice that included collages and paintings that mix her modernist graphic style with Dadaism. In 1969, after deciding to turn her attention almost exclusively to painting, Lustig started a rare-book dealership called Ex Libris with her second husband Arthur Cohen, the founder of Meridian Books. The catalogs they produced of their incredible collection of Dada, Surrealist, and avant-garde books and ephemera are now used as valuable resources for design research.

In 2006, Lustig Cohen launched a website that made the archive of Alvin Lustig's work available to the public. It led to a resurgence of interest in his work: a show at the 2007 International Art + Design Fair sponsored by Bard, a biography by Steven Heller, and a traveling exhibition put on by American Institute of Graphic Arts.

In 2011 she was awarded the AIGA medal for her extensive body of design work. Her work has been featured in an exhibition, curated by Ellen Lupton, at the Cooper-Hewitt, and continues to be shown at New York's Julie Saul Gallery, among other venues.

Friskin' the Whiskers is a series of street-based social performances that draw upon New York jazz musicians' rent parties designed to entertain and pay the rent. To take place from the 13th-16th of October 2016, the work involves an open call to NYC based saxophonists to battle for change and prizes in an exchange referred to as "cutting contests" where musicians will duel each other in a game for rent money on the front stoops of historic jazz homes in Harlem, LES, Bed Stuy and Queens. The exchanges happen in 5 street side performances across an elaborate mobile gaming table that serves as a DJ console with Jazz Historians/Ethnomusicologists introducing the bouts and Jazz Legends selecting the winners.

Peter Cramer and Jack Waters participate as the collective Allied Productions for Danspace Project Platform 2016: Lost and Found on October 17 & 18 with a public event 10/18 @ 7pm. at Arts On Site (12 St. Mark's Place).https://www.facebook.com/events/1826696744215531/

During our "mini residency" we will assemble a zine project, offer a dance workshop to reconstruct a dance by Brian Taylor (1957 -1992) as well as host a night of live performances, film screenings, and dialogue.

THE GOAL OF OUR COLLECTIVE is to help facilitate a platform for building a new language for current and future generations; a vocabulary specific to gender queer post corporate pharma experiences born of the epidemic that are independent of, yet informed by, currently dominant narratives of AIDS/HIV.

PLATFORM 2016:LOST AND FOUND PROJECT DESCRIPTION
The focus of the project is on the question posed by co-curator Ishmael Houston-Jones - "How is one able to, or can one, explain the pain, confusion, rage, and fear that HIV/AIDS caused a whole generation?" He added that the series will "try to recover the generation of mentors, role models, and muses" who died from the disease. As co-curator Will Rawls describes - "In trying to trace the social and artistic impact of deaths from AIDS, the zine, as a handmade, grassroots object will serve as a metaphor to address the hybrid and fragmentary documents of artists. It also addresses the collective spirit that grounds the longevity of artistic work in New York City.http://www.danspaceproject.org/2016/08/25/lost-and-found-schedule/

Peter Cramer and Jack Waters are known for cross disciplinary multimedia works that encompass experimental, non-narrative, documentary and personal history strategies. They've exhibited their film works at the Whitney Museum of American Art, The New Museum, London Film Makers Cooperative, Center for Contemporary Culture Barcelona, Anthology Film Archives, and MIX NYC. Their films are distributed by the New York Film_Makers' Cooperative.

Jack & Peter have collaborated for over three decades of international collectivist culture & practice as co directors of ABC No Rio and founders of the non-profit arts umbrella, Allied Productions, Inc., and its community art garden Le Petit Versailles. i-D Magazine called them " radical queers creating a powerful community through progressive politics, community gardens, wild parties, and colorful performance."

Acknowledgements and Thanks:
We are grateful to WIll Rawls and Ishmael Houston-Jones for initiating the project and inviting us to participate.
Thanks to Lydia Bell and Danspace Project for handling the myriad details and support necessary to bring it to fruition.

Event: 7th annual Festival For All Skid Row Artists
Saturday and Sunday, October 22 & 23, 2016 - Each day from 1 to 5 PM
In Gladys park - At the corner of 6th Street and Gladys Avenue in Skid Row, Los Angeles, CA 90021

A project of The Los Angeles Poverty Department www.lapovertydept.org
For further Information about the festival please call Tel. 213 - 413 1077
Or email info@lapovertydept.org

The Los Angeles Poverty Department (LAPD) presents the 7th annual Festival for All Skid Row Artists on Saturday and Sunday, October 22 and 23, from 1-5pm each day. The Festival for All Skid Row Artists is a two-day festival of performing and visual art with plenty of music, showcasing the diverse range of talents among Skid Row residents. Taking place in Gladys Park (corner of 6th Street and Gladys Avenue) in L.A.'s Skid Row, the festival has become one of the most anticipated grassroots cultural events in the area. At last year's festival over 100 Skid Row Artists performed or displayed their artwork to enthusiastic audiences. Many will be back and are preparing their acts and works of art and a select number of artists from outside Skid Row will perform and lead workshops again as well.

Festival attendees are invited to participate in the workshops and creativity stations facilitated by the artists. There will be creative stations for writing and painting, a Paper Mache bowl making workshop, guided meditation and sitting yoga workshops. Poet Jen Hofer will write letters and poems on demand and visual artist Clayton Campbell will invite the people to participate in his exhibit 'Words we learned after 9/11' which is currently on view at the Skid Row History Museum & Archive on 440 S. Broadway, Los Angeles, CA 90013. LAPD's Festival for All Skid Row Artists gives audiences a chance to hear what you usually don't hear about Skid Row: that it is a community rich with talent!

Los Angeles Poverty Department celebrates and preserves the rich artistic heritage of Skid Row and since 2009 has kept a registry of Skid Row artists, which now numbers more than 500. LAPD is a theater company comprised primarily of low income and homeless people living in Los Angeles' Skid Row. Founded in 1985, LAPD creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities. LAPD's works express the realities, hopes, dreams and rights of people who live and work in L.A.'s Skid Row.

Festival for All Skid Row Artists is produced by Los Angeles Poverty Department with partners United Coalition East Prevention Project (UCEPP) and Lamp Community's Arts Program. This year's festival is made possible with the support of the Department of Cultural Affairs of the City Los Angeles, Doris Duke Charitable Foundation, Los Angeles County Arts Commission, The California Arts Council's Local Impact grant, the National Endowment for the Arts, The Downtown Los Angeles Neighborhood Council and the City of Los Angeles Department of Recreation and Parks.

Dancing with Myself: Self-portrait and Self-invention Works from the Pinault Collection
October 7, 2016 - January 15, 2017

Museum Folkwang
Museumsplatz 1, 45128 Essen, Germany
From October 7, 2016, to January 15, 2017, the large exhibition hall in the Museum Folkwang will be given over to an artistic examination of the self. The thread that links the pieces together is the multifaceted presence of the artists in their own work. It will be the first time that such a substantial number of the outstanding group of works acquired by Francois Pinault is to be put on display in Germany. Dancing with Myself is a playful, poetic, poltical, and wild dance through contemporary art moving from the 1960s up to our own time.

In Dancing with Myself the artists themselves play a major part in the show. They are both actors and raw material in their own work-their bodies, their biographies, their social and sexual identities, their humor, their melancholia. Moving beyond the classical self-portrait, the exhibition plays on the themes of artistic temperament and attitude.
At the same time Dancing with Myself is also a vibrant media crossover. Large-format paintings come face to face with huge video installations; bodies turned into photographs encounter sculptural fragments. The artists have inscribed themselves in diverse ways-in the photographic apparatus, the video or film camera, the screen, the space, the conceptual gesture. The body becomes a natural Dadaist tool with childlike qualities; the performative is made into the primary form of representation. In the late twentieth and early twenty-first centuries, images turn into productive (distorting) mirrors for bodies and identities.

Dancing with Myself is also a wild ride through the art history of the last fifty years. What still had truth and validity in the 1970s other than the experience of one's own body? The postmodern irony and challenge of self-images and stereotypes of the time now come into contact with the attitudes of young artists who once again have a fixed social and political position, and use their own biographies and bodies to take a stand among the fault lines of a globalized and unequal world.

Dancing with Myself is a collaboration between the Museum Folkwang and the Pinault Collection, supported by the program Jeunes Commissaires of the Bureau des arts plastiques et de l'architecture of the Institut français.

FOR IMMEDIATE RELEASE Project For Empty Space [at] Gateway Project Spaces is pleased to present Raising a Riot, a solo exhibition by Artist-In-Residence jc lenochan. on view from October 12- November 18, 2016.

At its core, Raising a Riot is an exercise in institutional criticism; it is an active attempt at disrupting and reforming systemic inequities within pedagogical and educational structures. lenochan's interdisciplinary approach combines ephemera, found objects, performance, assemblage, and installation, amongst other objects, to creates spaces which critique institutional structures.

Through a combination of Socratic questioning and satire, this exhibition asserts a level of activism and critique on a collective social complacency. lenochan, who is also an educator, questions the infrastructures of the American educational system while addressing the systemic unjustness such as the divulgence of selective histories and race erasure within curricula. The artist states, "I hope I don't 'teach' anyone anything but introduce multiple perspectives and allow space for students and the public to make decisions for themselves."

As part of the exhibition's larger composition, lenochan incorporated numerous interactive programs to accompany the static work. One such program has been an ongoing workshop, which began during the artist's time as a Project For Empty Space Artist In Residence, that brought together local Newark high school students to create performances in response to the lack of the educational system. The culmination of their collective work will be presented on Sunday, October 23rd, at 3pm at the Project For Empty Space gallery.

A limited edition risograph publication commemorating the exhibition will be released in conjunction with the opening reception.

About the Artist
jc lenochan is a multi-disciplinary artist who combines drawing, sculpture, performance and installation. His practice works to critique academic pedagogy as a means of Socratic questioning of the acquisition of knowledge in terms of racial fabrications, perceptions of otherness, and cultural value. He is committed to creating critical transformational experiences for the public through conceptually- based projects and social sculptures that involve heavy input and ideas from local youth in specific communities. These projects include a series of lectures on "art and education being synonymous" as the art of listening. He was recently invited by the White House to lecture on juvenile justice, and is currently working with high school students to create dialogues around justice.

lenochan received his MFA from Rutgers University's Mason Gross School of Art in 1996, and attended Skowhegan School of painting and sculpture in 2001. Recently, the artist has had several solo exhibitions, most recent of which were Unfinished Business: Gettin' School'd at Real Art Ways in Hartford, CT, and Decolonizing the Mind at the Arc Gallery in Chicago. His work has also been presented in numerous group shows such as The Young Lords at El Museo del Barrio in New York City, Respond at Smackmellon in Brooklyn, NY, Smash and Grab at the Locust Projects in Miami, FL, and Ready or Not at theNewark Museum in Newark, NJ. He has received numerous awards and fellowships, such as: the Real Art Ways 'Step Up Artist' (2014), Artist In Residence at the Fountainhead Residence (2014), SIP Robert Blackburn Fellowship (2013), Franklin Furnace Grant (2011-2012), Newark Museum Artist In Residence (2011). jc lenochan's work is part of numerous collections, and was recently added to the permanent collections at the Delaware Art Museum and the Newark Museum.

It is our pleasure to invite you to the opening of UNDER OUR SKIN Body and Territory in Performance Art, an exhibition of our individual and collaborative Performance Art work. Coinciding with Columbus Day, the event will take place on Wednesday, October 12th, 6:00 PM starting with an Artist Talk and followed by the one-time presentation of our performance De Lo Ajeno (Of Others) at Patti and Rusty Rueff Galleries, PURDUE UNIVERSITY.

Hector Canonge and Verónica Peña, De Lo Ajeno (Of Others), Performance Art, 2016
UNDER OUR SKIN: Body and Territory in Performance Art is an exhibition featuring Performance Art works by artists Hector Canonge (born in Argentina) and Verónica Peña (born in Spain). The exhibit is an explorative survey that captures the various manifestations and expressions of Live Action Art created by the artists while living in and outside of The United States. UNDER OUR SKIN consists of a selection of videos of performances and outdoor interventions exploring notions of identity and migration. The exhibit captures the various manifestations and expressions of Live Action Art created independently and in collaboration by the artists while living in Europe, Latin America, and the United States.

De Lo Ajeno (Of Others) is a performance that explores Hispanic stereotypes in relation to national and personal identity. Based on perceptions that Americans have of Spanish and Latino cultures, and taking into account the historic ties between Spain and South America, artists Verónica Peña and Hector Canonge, create a performance that establishes possible dialogues and readings of Otherness. Using references and appropriating popular Hispanic traditions and practices, the artists create a dynamic performative environment where games of passion, power, control, domination, conquest, and mutual understanding are proposed. The performance consists of five actions marked by movement, sound, and the use of artifacts created by the artists. Every action evokes a moment and personal experience of the artists' lives in the United States.

Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, performance, and socially engaged art to explore and treat issues related to constructions of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge created, and organizes independently the annual Contemporary Performance Art Festival NYC, ITINERANT. He started projects such as ARTerial PERFORMANCE LAB (APLAB), a transcontinental initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, NEXUSURNEXUS a platform for Live Action Art, and PERFORMAXIS, an international residency program in in Latin America. Canonge teaches Media Arts and Technology at City University of New York, and directs projects, programs and initiatives from MODULO 715 his new studio in Jackson Heights, Queens. After living abroad for almost 3 years, the artist came back to NYC in 2015, launched TALKaCTIVE: Performance Art Conversation Series, and the new Performance Art initiative LiVEART.US hosted at the Queens Museum and other public institutions.

Verónica Peña is an interdisciplinary artist from Spain based in the United States. Peña's work explores the themes of absence, separation, and the search for harmony through performance art. Her recent work consists of experimental participatory performances that create shared moments amongst strangers. Peña earned her Bachelor of Fine Arts at The Polytechnic University of Valencia, Spain. She earned her Master of Fine Arts at Stony Brook University, New York, focusing on installation and performance art. Peña has performed in Spain, Germany, Italy, South Korea, Chile, and the United States. In New York, her work has been featured at the Queens Museum, Grace Exhibition Space, Momenta Art Gallery, The Lab Gallery (for Installation + Performance Art), at Times Square (Times Square Alliance), at the Armory Show 2010 (Gabarron Foundation), in the "13th DUMBO Arts Festival (DUMBO Arts Center), and numerous galleries. In Spain, her work has been exhibited at Casa de America (Madrid), Fundacion Antonio Saura (Cuenca), Museo Orus (Zaragoza), and Fundacion Caja Rioja (La Rioja) amongst others. She has been a recipient of the Socrates and Erasmus Grants, a Universidad Complutense de Madrid Fellowship, and a candidate for the Dedalus Foundation Grant. She has been an Artist-in-Residence at Vermont Studio Center, United States. She curates "Collective Becoming: The Urban Caress", an initiative to make of the streets of our cities a place less hostile. She has published "The Presence Of The Absent", a thesis about her body of work.

You are invited to the 3rd Annual Outdoor Sculpture show at the newly inaugurated Catskill Interpretive Center in Mt. Temper, NY. The center was conceived and partially funded by former Congressman Maurice Hinchey.

Parallelogram Gallery and Coco Hunday co-present un match nul, a solo exhibit in two parts of work by Miami-based artist Benjamin Zellmer Bellas. Zellmer Bellas is a starved feral animal in the body of a businessman. His business is oblivion, and he gets paid by commission. If he rolls a '93 Mercedes Benz filled with multi-colored sequins- tires pointed toward the ceiling- he wants it mourned like Tutankhamun. His objects and gestures are consecrated conjectures. Zelllmer Bellas knows that the meaning of life is found in the waste of it.

Working in the expanded field of sculpture, Zellmer Bellas is a conceptualist by nature. Whether it is the interaction between the voltage of a fluorescent light and frame rate that records it to video, or the illuminated silver plated insides of a whiskey barrel, each instance is held to the viewer as if cupped in the palms like the lark sparrow discovered broken at the base of a new bay window. Zellmer Bellas routinely frames the mundane and sells it as an incantation. Hurry, it's for a limited time only!

A special performance by Justin Cooper, in relationship to the exhibition, will take place at Parallelogram Gallery during the opening.

Benjamin Zellmer Bellas (b. 1976 Meadville, PA; lives and works in Miami, FL) received his Bachelor's degree in Studio Arts from the University of Pittsburgh in 1998, and his MFA from the School of the Art Institute of Chicago in 2005. His recent solo exhibitions include The letter that you're writing doesn't mean you're not dead, CUAC, Salt Lake City, UT (2015); and Soft Movements in the Same Direction, The New Gallery, Calgary, Canada (2014). In 2012, he won the Franklin Furnace Fund for his work, and has been featured in The Washington Post, WAMU NPR, and Sculpture Magazine. He is currently an Assistant Professor of Art and Art History at Florida International University, Miami.

11. Chris DAZE Ellis, FF Alumn, at UV Studios, Buenos Aires, Argentina, thru Oct. 25
Chris Daze Ellis
Buenos Aires / Argentina
Solo Exhibition and Artists Residency
From October 10 to October 25, 2016, Chris Daze Ellis has been invited to partake in the artist residency program at UV Studios in Buenos Aires, Argentina. The Artist will create a site-specific work with an accompanying soundtrack created specifically for this show. The artist has also been invited to do a presentation on October 15th, 2016 at the Trimarchi '16 International Design Conferance in Mar Del Plata, Argentina. The title of the presentation is "Underground Stories " and will cover the artist's development and inspiration from the mid 1970's to the present.

Hector Canonge, FF Alumn as guest artist in the Bienal Internacional de Arte, SIART 2016, in La Paz Bolivia, will present his immersive performative installation "TEMPORAL." In the United States, Canonge, in collaboration with Veronica Peña will inaugurate the exhibition focused on their individual Performance Art work "UNDER OUR SKIN: Body and Territory in Performance Art" at Purdue's University Patty and Rusty Rueff Galleries in Lafayette, Indiana. The exhibition will feature the collaborative performance "De Lo Ajeno" (Of Others) presented early this year at the Queens Museum and Rabbit Hole in New York City. An artist talk for students and the community is also scheduled as part of the program. On Sunday, October 16th, Canonge presents at the Queens Museum the program TALKaCTIVE Performance Art Conversation series featuring the work of artists under the theme of "Performance and Revolution". Selected guest artists will present new performances in Canonge's new curatorial program CENTIPEDE at Jack in Brooklyn on Sunday, October 23, 8:00 PM.

Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, performance, and socially engaged art to explore and treat issues related to constructions of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge created and directs the annual festival ITINERANT, started the projects: ARTerial Performance Lab (APLAB), an initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. After living abroad for almost 3 years, Canonge returned to the USA in late 2015 to continue with his projects, exhibitions, and presentations: TALKaCTIVE, performance art series, CONVIVIR, international residency program at his new space, MODULO 715 in Jackson Heights, Queens, and LiVEART.US. The artist is currently at work in his upcoming project "Murmurs" to be featured in December as part of his FF Award Program.

Please join us for my next performance, YOU IN VIEW, at gallery ROCKELMANN& Berlin, on October 13th, from 19:00. The performance deals with perception of distortion and protection, using mirrors as a material/ medium. It will last approximately 1 hour.

Hope to see you there-

Warmly,
E.

YOU IN VIEW

Performance, Elana Katz

13. October, 19:00

ROCKELMANN&
Schönleinstraße 5
10967 Berlin

Within the exhibition TRIPYCH, exhibition press release available here.

A new performance by Elana Katz that deals with mirrors as a material; the piece contemplates the mirror as a tool of shielding protection, a subject/ object of the narcissistic gaze, as well as a device used to deform and render a state of invisibility. Katz's action and resulting installation extends and calls into question conventional western perception and use of the mirror as an object of accurate representation.

Elana Katz is a conceptual artist working primarily in the medium of performance art. Katz's work confronts cultural conventions, critically examines the complexity that lies within contradictions, and thus aims to create an experience of unlearning the assumed. Her grants have included the DAAD Graduate Studies Grant for Germany (2010), Franklin Furnace Fund for Performance Art (2011), and her ongoing work concerning historical erausre Spaced Memory (2011-present), in which she works in Romania, Moldova, and the region of former Yugoslavia, has been realized in cooperation with the Goethe Institute of Bucharest, Goethe Centers of Cluj and Iasi, the U.S. Embassy of Kosovo, and Embassies of Israel in both Serbia and Romania. Katz has exhibited/ performed at the Royal Museum of Fine Arts of Belgium (2011), Diehl CUBE Berlin (2013), P.P.O.W. Gallery, New York (2013), Stacion Center for Contemporary Art, Pristina (2014), Kunstwechsel, Aachen (2015), and DNA Berlin (2015). She studied in New York at the Parsons School of Design and earned a Meisterschülerin title from the Berlin University of the Arts (Class of Katharina Sieverding). Katz has been based in Berlin since 2008.www.elanakatz.eu

Greetings from Japan, where last week I visited one of the artist Yoko Ono's most remotely situated, enigmatic works -- her "Sky TV for Hokkaido" (1966/2005), a video installation that was set up in 2005 in an old, abandoned farmhouse in a verdant forest on Japan's far-northern island of Hokkaido.

Like an ancient Buddhist sculpture, it's a work of art whose peculiar air of the poetic, the philosophical and the spiritual is inescapably uplifting, and its setting creates a soothing, meditative atmosphere.

See my article about this distinctive work, with photos, which has just been published in HYPERALLERGIC's "Weekend" edition.

"The Arrival" is a participatory research-based performance that examines identity, place, and belonging through languages and gestures. This performance starts from field research where I ask random people I meet on streets to say, " Where are you from?" with different tones and emotions, I record their voices. I also also invite people who I cannot meet in person to participate by asking them to record their own voices saying " Where are you from?" and sent them to me. The final project will be presented at 7a11d Festival where I use the recorded sound, salt, an paper boats to respond my research.

Chun Hua Catherine Dong, born in China, is a visual artist working with performance, photography, and video. She received a M.F.A. from Concordia University and a B.F.A from Emily Carr University Art & Design in Canada. She has performed in multiple international performance art festivals and venues, such as, The Great American Performance Art in New York, Rapid Pulse International Performance Art Festival in Chicago, Infr'Action in Venice, Dublin Live Art Festival in Dublin, Kaunas Biennial in Lithuania, Grace Exhibition Space in Brooklyn, ENCUENTRO Performance and Conference in Santiago, Internationales Festival für Performance in Mannheim, Place des Arts in Montreal, and so on.
She has exhibited her works at Fernando Pradilla Gallery in Madrid, The Schusev State Museum of Architecture in Moscow, Gera Museum in Vrsac, New Art Center in Boston, The Others Art Fair in Turin, Delhi Photo Festival in Delhi, The Aine Art Museum in Tornio, Art Museum at University of Toronto in Toronto, and Vancouver Art Gallery in Vancouver. Her video work has been screened in Brazil, Mexico, Finland, Germany, Italy, Ireland, Colombia, Spain, The Netherlands, Finland, Poland, Greece, Romania, Croatia, Denmark, Sweden, Scotland, China, USA, and Canada. Among many other awards and grants, she is the recipient of Franklin Furnace Award for contemporary avant-garde art in New York in 2014. Her performance is featured at Marina Abramovic Institute and listed amongst the ''Top Nine Political Art Projects of 2010'' by Art and Threat magazine. Dong now lives in Montreal.

From Here to...There: Concept and Technique in Artists' Books, The Twenty-second Annual New Jersey Book Arts Symposium and Exhibition is on Friday November 4th from 8:45am to 5:00pm at the Archibald S. Alexander Library at Rutgers University in New Brunswick, NJ. (close to several major NJ roadways and accessible by rail from NYC and Philadelphia). We've made it to our 22nd year! Hope you can join us.

Archibald S. Alexander Library
Rutgers, The State University of New Jersey
169 College Avenue
New Brunswick, NJ 08901

Symposium and Exhibition:
Friday November 4, 2015
8:45am - 5:00 pm

Morning includes two hands-on workshops conducted by Catherine LeCleire and Sarah Katherine Stengle. Asha Ganpat will include everyone in an Interactive Artist Book Project. Featured artists Aileen Bassis, The Creativity Caravan (Amy Tingle & Maya Stein), Lesley Dill and Shellie Jacobson will present and talk about their work.

Afternoon includes presentations by featured artists Heidi Neilson, Alexander Osborne, Robin Price and Miriam Schaer. We are very pleased that once again Judith K. Brodsky, Professor Emeritus and Founder of the Brodsky Center will speak about the art presented and sum up the Symposium. A Book Artist Jam open to all participants will take place after the afternoon program. Everyone is invited to show their own books and book art.

In addition our lunchtime seminar will feature readings from artists books, featuring MaryAnn Miller and Lois Morrison. Anna Pinto, the NJBAS Scribe will create unique name tags for the attendees and Marcia Wilson will create a photo-document of the symposium.

Accompanying exhibit curated by Amanda Thackray on view until January 3rd.

THE MUSEUM OF MODERN ART APPOINTS KATHY BREW AS GUEST CURATOR OF DOC FORTNIGHT 2017
New York, NY, October 5, 2016-Noted documentarian and veteran programmer Kathy Brew has been appointed as guest curator of The Museum of Modern Art's 2017 Doc Fortnight festival. MoMA's annual festival of international nonfiction film showcases important new discoveries in documentary cinema and highlights the growing ambition and experimentation within the documentary field. Under the direction of Rajendra Roy, The Celeste Bartos Chief Curator of Film at MoMA, Ms. Brew will work with David Neary, returning Festival Manager, in selecting films to be presented during the annual 10-day event in February 2017.
"We are thrilled to welcome Kathy as guest curator of Doc Fortnight," said Mr. Roy, "Her embrace of innovation and inclusiveness in the nonfiction realm, and her expertise as a filmmaker and curator, will be invaluable in the success of the 2017 edition."
Since its inauguration in 2001, Doc Fortnight's founding principle has been that cross-fertilization among experimental, fiction, and nonfiction films enriches our understanding of an increasingly complex world.
Ms. Brew has worked on a range of media projects, from experimental work to independent documentaries and public television productions. From 1997 to 2014, she collaborated with her life/work partner, Roberto Guerra, on independent projects related to the arts. Among their collaborations was Design Is One: Lella & Massimo Vignelli, a film on the acclaimed designers (whose work is included in MoMA's collection). In Guerra's honor, she initiated the Roberto Guerra Documentary Fund with UnionDocs in the fall of 2014.
Her extensive experience as a filmmaker includes four short films on Chinese contemporary artists, shot on location in Beijing in fall 2006, part of the Observer Observed series for The Joy of Giving Something, Inc.; ID/entity: Portraits in the 21st Century, commissioned by the MIT Media Lab and screened at the International Festival of Art on Film in Montreal; a collaboration with artist Mierle Ukeles on a multiple-channel installation about the Fresh Kills landfill, which is currently featured in a retrospective exhibition of Ukeles's Work at the Queens Museum through February 19, 2017; and Paradise Now: Picturing the Genetic Revolution, which was broadcast on WNET/Thirteen's Metro Arts and presented at the International Festival of Art on Film in Montreal and the Tang Museum at Skidmore College.
As a media programmer and curator, she was the co-director of the American Museum of Natural History's Margaret Mead Film and Video Festival from 2004 to 2007; and from 1997 through 2001 she served as director of Thundergulch, the new media arts initiative of the Lower Manhattan Cultural Council, which sought to provide new forms of interaction among artists, audiences, and new technologies.
She served as series consultant/curator for Reel New York, WNET/Thirteen's series for independent film and video makers, from 2002 to 2004, and was a programmer for Lincoln Center's New York Video Festival in 2006 and 2007.
Ms. Brew has also written on media and contemporary art for catalogues and other publications, and is on the faculty of the MFA Computer Arts Department and the MFA Art Practice Department at the School of Visual Arts, and of the Department of Media Studies and Film at The New School. She has also taught at NYU's Interactive Telecommunications Program (ITP), the Mason Gross School of the Arts at Rutgers University, and Pratt Manhattan.
The full line-up and screening schedule for the 2017 edition of Doc Fortnight will be announced in January 2017.
No. 39
Press Contact:
Margaret Doyle, (212) 408-6400 or margaret_doyle@moma.org

Argentinian artist Liliana Porter is a master at distilling life and art to simple profundities through humorous juxtapositions of incongruous objects. For her first exhibition at the gallery in four years, Porter presents a full range of new work, including paintings, sculptural objects, installations, works on paper, photographs, and a new video, each addressing the proposition that time is non-linear and reality ungraspable.

Over the years, Porter has amassed a prodigious and eccentric collection of figurines, knickknacks, toys, and souvenirs from her global travels. These kitschy objects appear regularly in her work, inviting political, philosophical, and existential interpretation through their arrangement in unexpected situations. Each tchotchke represents a different era and cultural/historical narrative. Porter delights in manipulating time, history and reality by combining them as though in dialogue in an atemporal white space.

In her new video, titled Actualidades/Breaking News, Porter structures each scene as if it were a segment from a newscast or section in a newspaper, including "Arts and Leisure," "Fashion and Style," "World News," and "Religion." With music arranged and composed by Sylvia Meyer, each scenario becomes an evocative portrayal of the absurdities and tragedies perpetuated by poignant human surrogates in the form of shabby children's toys, hilarious religious and political icons, and other peculiar and pathetic mass-produced objects.

Liliana Porter was born in Buenos Aires, Argentina in 1941. In 1961 she moved to New York, where she has lived and worked since. In 1965 she founded the New York Graphic Workshop with Luis Camnitzer and Jose Guillermo Castillo. Porter has shown extensively internationally, including most recently solo museum exhibitions at the Museo Caraffa, Cordoba, Argentina; Museo Nacional de Artes Visuales, Montevideo, Uruguay; MALBA, Buenos Aires; Museum of Fine Arts, Boston; Museo Rayo, Roldanillo, Colombia; Centro Cultura de España, Santiago, Chile; and Museo Tamayo, Mexico City, as well as a two-person exhibition with Marcel Broodthaers at The New Museum, New York. Her work is in numerous public and private collections in Latin America, Europe and the United States, including The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Museo de Arte Moderno, Buenos Aires; Philadelphia Museum of Art; Smithsonian Museum of American Art; Daros-Latinoamerica Collection, Zurich; and Tate Modern, London.

October 23, 2016 at 6:00pm - Cathy Weis Projects and Sundays on Broadway present the Young Choreographers Showcase. A recurring event at WeisAcres, the Young Choreographers Showcase offers a unique opportunity for emerging choreographers to present in-progress work and ideas in an intimate setting. This season, Sundays on Broadway presents Miriam Gabriel & Carlo Antonio Villanueva and Gabrielle Revlock. All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres, 537 Broadway #3, New York, NY 10012. Seating is first come, first served. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists. Free admission. www.cathyweis.org

Hi Everyone, I'm excited to invite you to a few upcoming events this fall. Julie Tolentino and Pati Hertling invited me to organize a screening in conjunction with their re-staging of Ellen Cantor's show COMING TO POWER. I'll be showing some rarely screened works by A.K. Burns, Cecilia Dougherty, Anie Stanley and videos of mine from the early 1990s. It's free and happening THIS WEEK Sat Oct 15, 7:30p at Maccarone, NYC.

In late Oct I'll be heading to Colorado College to participate in INCARCERATION NATION curated by Jessica Hunter-Larsen. The exhibition features thought-provoking work by artists and activists about the prison industrial complex. I'll be showing my piece on trans inmates BEWARE THE LILY LAW, and this will be the first time I'm staging it outside Eastern State Penitentiary where it's been on display since 2011. If you're in the area of Colorado College I'd love to see you, and if you're on the other side of the planet, I have work up in Guangzhou.

And mark your calendar for Oct 25 when I'll be bringing Barbara Hammer and her new film to the Fashion Institute of Technology's Film & Media Screening Series.

Higher Pictures is pleased to present the work of Emily Roysdon. This is Roysdon's first exhibition with Higher Pictures and marks the first time she is showing her work in a commercial gallery context after nearly a decade of exhibiting internationally.

Roysdon's interdisciplinary practice spans photography, performance, video, printmaking, costume design, text, song writing, and curating. Her work has been anchored by a persistent and evolving inquiry into movement in all of its senses - social, experimental, political, and aesthetic; an exploration of the frames and margins that describe and inscribe space and image.

At Higher Pictures Roysdon presents a salon-style hang of her photographic projects made over the last decade, distilling her variform thinking and production into an engagement with the specific visual language of photography - its sitedness, its relationship to abstraction, and the translation of physical actions (in the darkroom) into a static image. She takes a willfully undisciplined approach to photography, combining multiple negatives onto a page, cutting and sewing gelatin silver prints, and screen-printing onto the photographic image.

Included here are the twelve gelatin silver prints that comprise Roysdon's earliest body of work, Untitled (David Wojnarowicz project) (2001-07), in which she recasts Wojnarowicz's series Rimbaud in New York (1978-79), bridging a historical and contemporary dialogue of gender and identity. The Piers Untitled (2010) takes aim at New York's Christopher Street Piers, a historically rich site of culture and activism for the queer community in the city. Roysdon both presents the unpopulated cityscape as memorial and interjects into it with collage to question the latent meaning of unmarked historical sites and suggest the subversive potential of marginalized, counter-cultural space.

In recent years, Roysdon has been working with photograms, one of the earliest and most persistent experimental forms in the history of the medium. Her two photogram series Calendar and Discompose (both 2014 and ongoing) feature various objects arranged in the darkroom, each print a record of up to 25 individual exposures. Both were originally conceived as part of the visual lexicon of Uncounted, a larger project about time, light, and performativity. For the Calendar series Roysdon uses an object like a sundial underneath the enlarger lens to cast a shadow that resembles a lightbulb or phases of the moon, visually imprinting time. In the Discompose series waveforms, lines, and circles form a visual score, somewhere between image and form, sound and rhythm. Roysdon's photograms are an exercise in abstraction as she composes and discomposes with an inescapable, joyful element of chance in the process.

Emily Roysdon (b. 1977) earned her MFA from UCLA in 2006. She is the cofounder and editor of the journal LTTR, is the author of the influential essay "Ecstatic Resistance," and has collaborated with the bands Le Tigre, MEN, and The Knife. Recent projects have been commissioned by Secession, Vienna (2015); PARTICIPANT INC, New York (2015); Stedelijk Museum Amsterdam (2014) and Tate Modern (2012). Her work has been included in recent editions of the Gwangju Biennale, Sydney Biennale, the Whitney Biennial, New Museum Triennial, MoMA PS1's Greater New York, and Manifesta. Her work is held in the public collections of The Museum of Modern Art, New York; the New York Public Library; and Moderna Museet, Stockholm. Roysdon is Professor of Art at Konstfack University College of Arts, Crafts, and Design in Stockholm, Sweden.

The New York Times
BOOKS
'Life and Death on the New York Dance Floor' Charts a Kinetic Scene in the Early '80s
Books of The Times
By MICHAELANGELO MATOS
OCT. 9, 2016

If Tim Lawrence had wanted his third book, "Life and Death on the New York Dance Floor, 1980-1983," to go pop, he would have titled it "The World That Made Madonna," picked a different cover, and added a chapter or two focusing on her. He wouldn't need to do much more.

The years covered in his book were the crucial early ones of Madonna's musical and cultural development, when she was seeing the same shows, perusing the same galleries and dancing on the same floors as everyone from CBGB's punks to the Bronx rappers making their way downtown to perform with increasing frequency.

But Madonna is not the focus here because everything surrounding her is the focus. Using a single character as a lens would have worked against Mr. Lawrence's thesis: that the New York party culture of the early '80s is of interest because it allowed the intersection of a wide array of subcultures, which sent sparks flying. Gallery owners and graffiti artists, punk bands and hip-hop D.J.s, performance artists and budding entrepreneurs all commingled - and, as "Life and Death" amply demonstrates, left defining footprints not only on one another's work, but sometimes on the forms themselves.

Mr. Lawrence, a professor of cultural studies at the University of East London, provides a lot to chew on, sometimes too much. Occasionally his paragraphs are weighted down with alphabetical lists of, say, every notable band that played at a particular club in a given year - like a garnish that overwhelms the dish. And he restates his thesis a few too many times, particularly unnecessary since he spends so much time showing that intermingling in action.

The focus here is clearly music. Mr. Lawrence even includes some D.J. playlists for the listener to investigate. But "Life and Death" is more expansive than that - it takes you deep into a time and place, the good-old-bad-old-days of pre-Rudolph Giuliani New York, which many have valorized for some time now. If the 1970s have been thoroughly examined, the early '80s have been left relatively unexplored, and while Mr. Lawrence provides a lot of minutiae, he also delivers a story with some sweep.
Once again, Mr. Lawrence's heroes are the night crawlers of '70s and '80s New York dance clubs. His first two books focus on a pair of men whose cultural reach far outweighs their personal fortunes: David Mancuso, proprietor of the foundational disco the Loft in SoHo (its first party was on Valentine's Day 1970) in "Love Saves the Day" (2004); and the mercurial, wildly eclectic Arthur Russell in "Hold On to Your Dreams" (2009). Obscure in his day, Mr. Russell, a cellist with a still-improbable résumé that includes chamber compositions, plangent pop songs and a handful of extraordinarily creative disco 12-inches, is now the locus of a thriving cult following fed by a series of reissues.

Those two men also make appearances in "Life and Death on the New York Dance Floor," but as part of an ensemble cast that's hardly short on star power. Others includes the artists Keith Haring, Jean-Michel Basquiat, Fab 5 Freddy (Fred Brathwaite) and David Wojnarowicz; the D.J.s Grandmaster Flash, Afrika Bambaataa and Jellybean Benitez; the young Run-D.M.C., Melle Mel and Russell Simmons; Blondie's Deborah Harry and Chris Stein; and, yes, Madonna, who finally arrives on Page 248, appearing live at Danceteria, where, by her third show, her fee will outstrip the promoter's budget.

They, along with scores of others, were hitting clubs in this era, and Mr. Lawrence makes a tight-knit case for the sociocultural value of clubs as meeting places for artists of different disciplines, particularly in New York, where property values were still low after the city's near-bankruptcy in the mid-70s. Though perhaps this was already beginning to change. As Mr. Lawrence notes, "After a long slump, the real estate business was in 'high gear,' reported architecture critic Ada Louise Huxtable in the summer of 1980."
By 1981, Steve Mass, founder of the Mudd Club, says: "There was this explosion of 20-odd clubs. Everyone was starting a club based on the fact that it cost no money. One of my bartenders went down the block and started doing nights in a strip club."
Mr. Mass's spot, which opened in TriBeCa in 1978, was the first of what would be called "rock discos" at the turn of the '80s. Live bands played alongside D.J.s, and the D.J.s tended to refuse to play straight-up disco, though many kept things danceable, even before beat-matching became standard among club jocks. But Mudd Club also helped shift New York clubbers' concept of cool away from the hauteur of Studio 54 in Midtown, with its infamous velvet rope. Mischievously, Mr. Mass had a blacksmith create an industrial chain and stanchion for the Mudd Club's entry, boasting: "The velvet rope was designed to keep the people lacking taste, the underclass, away. But I took the velvet rope and devalued it."

The art world gets special notice here, in particular the trajectories ofHaring - gay, sharp, friendly, and dead of complications from AIDS by 1990 - and Basquiat, a magnetic presence who in addition to becoming a world-famous artist also dabbled in music. (He would die of a heroin overdose in 1988.) Basquiat played in the experimental quartet Gray and produced K-Rob vs. Rammellzee's still stunning hip-hop 12-inch "Beat Bop," issued by Profile Records, whose executive Cory Robbins turned down Basquiat's offer to make artwork for the sleeve because "he would make more money if he stuck with the standard Profile jacket." (The earlier original, Basquiat-designed cover, pressed in small numbers on a tiny label,now fetches as much as $1,500.)

Basquiat even occasionally spun his own, decidedly undisco mix of records in clubs, insisting to Johnny Dynell, a Mudd Club and Danceteria D.J., that "Anyone who can't dance to John Coltrane can't dance."

As the mid-1980s approached, downtown wasn't so carefree anymore. When 1983 came to a close, Dow Jones was up more than 200 points over a year earlier, bringing silly money to an area unused to it. "An era shaped by deepening inequality, accelerating commodity consumption and an obsession with surface image was making its presence felt," Mr. Lawrence writes.

He quotes Michael Zilkha, founder of the "mutant disco" label ZE Records. "A lot of it had to do with the Reagan ethos," Mr. Zilkha says, when everything "started to revolve around money. The more you retained your leftist ideals the more alienated you became."

Ann Magnuson, the actress and 1980s party promoter, sensibly says near the book's end, "Don't romanticize having no money!" Then she adds: "But would I rather be a 22-year-old now or back then? Back then, absolutely."

Michaelangelo Matos is the author of "The Underground Is Massive: How Electronic Dance Music Conquered America."
Life and Death on the New York Dance Floor, 1980-1983 By Tim Lawrence
Illustrated. 578 pages. Duke University Press. $27.95.

Jeff McMahon's new monologue, (Ob)Scene, will be featured in the European premiere of the After Orlando International Theatre Action, 70 short plays inspired by the Orlando nightclub shooting in Florida earlier this year. His monologue will be presented at the Finborough Theatre in London SW on Monday, October 31 at 3:30, directed by Scott LeCrass. He is especially honored that such writers as Neil LaBute and Erik Ehn will have work presented in that same hourlong slot. http://www.finboroughtheatre.co.uk/productions/2016/vibrant.php

With "irrepressible energy and engaging presence" (NY Times), ground-breaking performer & one of the infamous NEA-4, John Fleck has been a prominent theatrical figure since grant funding for his work was questioned in a lawsuit against the National Endowment for the Arts in 1990. The LA Times raved, Fleck "is an expert at riling the unconscious & releasing the repressed like bats in a belfry."
Hot off a critically-acclaimed run in LA, Blacktop Highway comes to Dixon Place for its East Coast premiere. A horrifying, hysterical tale of taxidermy, transformation & caged creatures, this reinvented gothic horror screenplay is staged onto Fleck's body. Inspired by classic horror cinema & Freud's theories of mind & ego, Fleck weaves video with theatrical movement & remarkable vocal qualities, leading the audience into a darkly hilarious world. This Dixon Place commission is made possible with public funds from NY State Council on the Arts with the support of Gov Andrew Cuomo & the NY State Legislature, NYC Department of Cultural Affairs in partnership with the City Council.http://dixonplace.org/performances/blacktop-highway/
ABOUT THE ARTIST
John Fleck is a performance artist & actor based in Los Angeles. In 1990, he & 3 other performance artists, now known as the NEA-4, were denied funding by the National Endowment for the Arts culminating in a U.S. Supreme Court case involving freedom of speech and charges of obscenity.
John's previous show Mad Women was nominated for a Bessie Award & won the 2012 LA Weekly Award for Outstanding Solo Performance. Other critically acclaimed solo shows include: Side EFFlecks May Include, Johnny's Got a Gun, Nothin' Beats Pussy, Dirt, me, A Snowball's Chance in Hell, Blessed are all the Little Fishes, Psycho Opera & I got the He-Be-She-Be's.
His self-scripted work has been funded by the Getty, the NEA, Franklin Furnace, the Jerome Foundation, the Rockefeller Foundation, LA Cultural Affairs, Durfee & the Center for Cultural Innovation. He has won 4 LA Critics Circle Awards, 8 DramaLogue, 6 LA Weekly & 2 Backstage West awards, all for outstanding performance. His past performance venues include the ICA (London); ICgA (Boston); The Warhol Museum (Pittsburgh); The New Museum, The Public Theater, The Guggenheim Museum, PS-122, Second Stage, La Mama, Dixon Place & Joe's Pub (NYC); The Broad Stage, The Getty Museum, Cal Plaza, MOCA, Taper 2 & Bootleg (LA).

Get ready for UNLIMITED food and drink from Brooklyn-based superstars at our annual Meals & Spiels fundraiser! Delicious and boozy offerings from Caroline Fidenza of Saltie! Baked! Kings County Distillery! NY Distilling Co.! and Brooklyn Brewery! Come out in your vintage best and spin under streamers and (crepe paper) stars in the whimsically transformed gym of Williamsburgh's historic Our Lady of Mt. Carmel Church.

Entertainment includes a performance live via satellite from cultural jamming activists The Yes Men, whose NRA-trolling Share the Safety program recently went off with a bang!

This year's honored guest is Charlie DeLeo, "Keeper of the Flame" who maintained Lady Liberty's torch from 1972 to 1999. Charlie has been the subject of a book, a documentary, and numerous articles. He'll present a collection of personal photos documenting his role in the life of his greatest love, the Statue of Liberty.

Introducing Charlie will be Barry Moreno, librarian from the Bob Hope Memorial Research Library of the Ellis Island Immigration Museum. Barry will discuss the statue's history, including fascinatingly obscure facts!

Harley "The Inspector Collector" Spiller's Vertigrised Penny Collection will give us an up-close look at how Lady Liberty got her patina.

About The City Reliquary Museum:
The City Reliquary Museum & Civic Organization preserves the everyday artifacts that connect visitors to the past and present of New York City. It was originally established as an apartment window display in 2002 at the corner of Grand and Havemeyer Streets and relocated to 370 Metropolitan Avenue in 2006. The Reliquary also hosts public events that invite neighbors and visitors to meet, exchange ideas, and celebrate the diversity of our city.